A Quote by Lee Friedlander

I suspect it is for one’s self-interest that one looks at one’s surroundings and one’s self. This search is personally born and is indeed my reason and motive for making photographs. The camera is not merely a reflecting pool and the photographs are not exactly the mirror, mirror on the wall that speaks with a twisted tongue. Witness is borne and puzzles come together at the photographic moment which is very simple and complete. The mind-finger presses the release on the silly machine and it stops time and holds what its jaws can encompass and what the light will stain.
The camera is not merely a reflecting pool and the photographs are not exactly the mirror, mirror on the wall that speaks with a twisted tongue.
I suspect it is for one's self-interest that one looks at one's surroundings and one's self. This search is personally born and is indeed my reason and motive for making photographs.
To me, photographs are like words and I generally will place many photographs together or print them one inside the other in order to construct a free-floating sentence that speaks about the world I witness.
During my performances, I don't like folks to take pictures because I feel that we live in a very photographic time. Photography was invented over 100 years ago, and now it's at its peak because everyone has a camera. The fact that they are taking experiences and filtering them through a mechanical lens I find amazing, but also disheartening. Amazing when you have photographs that start revolutions. Disheartening when you have people making photographs but not living.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
Love After Love The time will come when, with elation you will greet yourself arriving at your own door, in your own mirror and each will smile at the other's welcome, and say, sit here. Eat. You will love again the stranger who was your self. Give wine. Give bread. Give back your heart to itself, to the stranger who has loved you all your life, whom you ignored for another, who knows you by heart. Take down the love letters from the bookshelf, the photographs, the desperate notes, peel your own image from the mirror. Sit. Feast on your life.
The digital camera takes photographs in practically no light: it will dig out the least bit of light available. I was amazed to see the results of photographs that I wouldn't take ordinarily. That's the advantage of digital photography.
From taking photographs of George and Charlotte, I have been struck by the wonderful lack of self-consciousness that you see in photographs of children, without the self-awareness that adults generally feel.
Remembering our past, carrying it around with us always, may be the necessary requirement for maintaining, as they say, the wholeness of the self. To ensure that the self doesn’t shrink, to see that it holds on to its volume, memories have to be watered like potted flowers, and the watering calls for regular contact with the witnesses of the past, that is to say, with friends. They are our mirror; our memory; we ask nothing of them but that they polish the mirror from time to time so we can look at ourselves in it.
Self knowledge begins with the neighbor, the mirror, and just the same with true self-love; that goes from the mirror to the matter.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
Photography is the mirror, more faithful than any actual mirror, in which we witness at every age, our own aging. The actual mirror accompanies us through time, thoughtfully and treacherously; it changes with us, so that we appear not to change.
A newspaper is a mirror reflecting the public, a mirror more or less defective, but still a mirror.
Photographs are the results of a diminution of solar energy, and the camera is an entropic machine for recording gradual loss of light.
Makeup is no different than clothes and accessories - it's embellishments for your face. And it also gives you creative freedom. You get to have that moment in front the mirror every morning and give yourself self-love. You're making yourself up beautiful, which is essentially self-love.
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